Shooting on a Sony F35, with the Odyssey 7Q External Recorder. This was a location test, and camera test all rolled into one. We wanted to push the highlights and the shadows of the images, to create maximum stress on the cameras dynamic range.
The focus was not perfect as no follow focus was used, shooting wide open almost at T1.4. There are also one or two abrupt cuts - music was added just to make it nicer to watch :)
Shooting at 10Bit 4:4:4 via dual input into the 7Q. The F35 has a 5K sensor, and outputs a clean and uncompressed 1920x1080p signal. We were using a set of Zeiss 'B-Speed' cine lenses, 35mm and 85mm.
We were able to use a very unlikely workflow:
- All footage was shot in the space of 25mins
- The footage was ingested into Premiere Pro CC as .DPX image sequences
- Footage was edited on a flight from Salt Lake City to LA, on the bumpiest flight ever....
- From there the footage was taken into Resolve Lite 10 and graded with built in tools and LUT's
- All of the above workflow was done on a mid-2012 macbook air with 4GB RAM.... that was the unlikely part of the story!
It is also very important to mention that i exported this video using the built in Vimeo 1080p export settings in Premiere. This compressed the video to 78MB in size. What you are seeing is a heavily compressed version of this video.
As a Red owner and also the owner of DSLR cameras etc - this is the closest digital image to film in my opinion, just like the ARRI Alexa.
FS700 2K raw out of the Sony FS700 to the new Convergent Design Odyssey 7Q.
Glitchy frames are Resolve's problem, not the 7Q. Banding is Vimeo's problem. Images on my desktop are significantly cleaner. Basically flawless, really.
The 2K raw is spectacular. Color depth is the biggest factor...simply gorgeous. Blacks are clean, colors are noise-free, crisp, smooth, and extremely flexible to work with. You can achieve any look you want with the raw footage with virtually no image degradation, and you can salvage several stops of detail in blown highlights. The color depth and lack of noise adds a level of clarity and *apparent* resolution that just makes the images pop. Looks cinematic. Odyssey's 4K super sample is far better than the FS700's onboard...I haven't seen any of the weird aliasing and moire with the highlights that have plagued the FS700. This is like having a new camera. I can wait on the 4k, honestly...this 2K image is absolutely fantastic. I'm thrilled that I bought my FS700s...they were worth it to begin with, but having this kind of recording versatility now genuinely makes this the most dynamic, powerful, versatile camera on the market...especially for the price. Up to 240fps without cropping...raw 2k...4k...super-efficient onboard 1080p...swap between super 35 and full frame with different Metabones adapters....seriously, nothing beats it.
Files are massive and DaVinci Resolve is having a hard time putting out footage without garbled frames. The files on the Odyssey are flawless...something's wrong with Resolve. Gotta find a better workflow.
The Odyssey is great as a monitor. Best I've used, for sure. The fact that you can record with it, too still blows my mind. Having used (and hated) the R5 solution, I'm thrilled with this device. It's practical. It's super-lightweight. Absolutely great. My only regret is not buying two. :-/
-You've got to have separate SSD's for 240fps only. The device has to RAID the super slow mo, and mixing other frame rates messes up the partitioning scheme. Just have one set of SSD's for your 240, and you're good. It's pretty quick to safe-eject and swap hard drives. However, CD has assured me this will be fixed in a firmware update.
-Massive files. Massive. ProRes update will be great. Raw is fabulous, but lots of times we just need a middle ground between raw and AVCHD.
More clips coming. Filming at the shooting range this weekend :)